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This Is A New Release Of The Original 1919 Edition.
This Is A New Release Of The Original 1919 Edition.
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Excerpt from The Life and Letters of Lady Dorothy Nevill Be this as it may, the name of Dorothy certainly brought good luck to my mother who cherished the cult of her beautiful ancestress all through the long and happy life which, four years before the death of George IV, began at No. II Berkeley Square - the eighteenth - century mansion in which had lived her kinsman, Horace Walpole. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
In choosing letters for publication I have been largely guided by the wish to illustrate my father's personal character. But his life was so essentially one of work, that a history of the man could not be written without following closely the career of the author. Thus it comes about that the chief part of the book falls into chapters whose titles correspond to the names of his books. In arranging the letters I have adhered as far as possible to chronological sequence, but the character and variety of his researches make a strictly chronological order an impossibility. It was his habit to work more or less simultaneously at several subjects. Experimental work was often carried on as a refreshment or variety, while books entailing reasoning and the marshalling of large bodies of facts were being written. Moreover, many of his researches were allowed to drop, and only resumed after an interval of years. Thus a rigidly chronological series of letters would present a patchwork of subjects, each of which would be difficult to follow. The Table of Contents will show in what way I have attempted to avoid this result. In printing the letters I have followed (except in a few cases) the usual plan of indicating the existence of omissions or insertions. My father's letters give frequent evidence of having been written when he was tired or hurried, and they bear the marks of this circumstance. In writing to a friend, or to one of his family, he frequently omitted the articles: these have been inserted without the usual indications, except in a few instances, where it is of special interest to preserve intact the hurried character of the letter. Other small words, such as "of", "to", etc., have been inserted usually within brackets. I have not followed the originals as regards the spelling of names, the use of capitals, or in the matter of punctuation.
As his letters attest, for nearly forty years Henry James enjoyed a warm and gratifying friendship with Britain’s foremost soldier of the last quarter of the nineteenth century and his wife. The Wolseleys were notable figures. Lord Wolseley, the field marshal who became Britain’s commander in chief of the British army, was a national hero. Both a bibliophile and an author, Wolseley was described by Henry James to his brother William as an "excellent example of the cultivated British soldier." Lady Wolseley was also well-read, as well as stylish, strong-willed, and shrewd, and in Henry’s view, a delightful correspondent—in short, as the editor writes, "precisely the kind of woman James most admired." In The Master, the Modern Major General, and His Clever Wife, Alan James offers a collection of more than one hundred letters—most of them published here for the first time—that Henry James wrote to the Wolseleys, the majority to Lady Wolseley. Included are an overall introduction to the letters; separate introductory profiles of Lord and Lady Wolseley along with commentaries on the factors that drew James and the Wolseleys together; introductions to each of four sections of the letters, divided chronologically; and annotations throughout, identifying the notable men and women to whom James refers as well as comparing what James and the Wolseleys thought of them and their work.
Against a backdrop of increasing democracy and the associated process of aristocratic decline, this book examines the political influence of the leading Tory hostesses, the Marchionesses of Londonderry. Over one hundred and fifty years, from 1800-1959, these women were patrons and confidantes to key political figures such as Disraeli, Bonar Law, Edward Carson and Ramsay MacDonald. By the late 19th century upper-class women were at the height of their prowess, exerting political sway by private means whilst exploiting more public avenues of political work: canvassing, addressing meetings and leading the new associations established in an attempt to educate a mass electorate. At that time this hybrid of private and public aristocratic politicking aroused little criticism but, by the interwar period, the hold that the 7th Marchioness of Londonderry, Edith Vane-Tempest-Stewart, allegedly had over MacDonald prompted widespread criticism of her role as the 'Mother' of the National Government. The lives of these vibrant and fascinating women have long been overlooked in histories of the nineteenth and early twentieth centuries, as well as in studies of conservatism, unionism or the aristocracy. Despite their social and political importance, few of their contemporaries acknowledged their influence, partly because of the indirect way that aristocratic women exerted political power, and their place in society was essentially defined by their male relatives. The Ladies of Londonderry offers the first examination of the poweful political hostesses of the Anglo-Irish establishment and sheds considerable light on the workings of 19th and 20th-century politics.
A highly personal, anecdotal family memoir of the Wellington legacy. Jane Wellesley is a member of one of Britain's most illustrious families. Her father, the 8th Duke of Wellington, was born in 1915, a hundred years after the first Duke's momentous victory over Napoleon at Waterloo, but only a little over sixty years after the death of his celebrated ancestor. When the 'Iron Duke' died Queen Victoria wept with the nation, mourning the loss of 'the greatest man England has known'. A million and a half people swarmed London's streets to watch his cortege pass on its way to St Paul's. Few facts can now be added about the public man, but Jane's family memoir animates the First Duke as husband and father, as brother and several degrees of grandfather. Her journey through this richly compelling family history begins and ends with the first Duke, visiting the battlefield of Waterloo with her father to set her fascinating tale in motion. Through her parents she reaches back to earlier generations, weaving together characters and places, establishing connections, and exploring in greater depth than usual the Wellington women, who are often reduced to footnotes in conventional histories. She unearths memories, visits places from her parents' past, and discovers much about the lives of her grandparents and the generations before them. Most of us view the First Duke of Wellington as an iconic figure, whose name has been claimed by pubs, squares, streets, and, of course, rubber boots. In this highly personal account, the public man gives way to the private, and Wellington's legacy is seen through the eyes of those who have followed in his footsteps. Jane Wellesley triumphantly succeeds in wresting the Duke from his lonely column to reclaim him for his family, and so for the reader.
What kind of property is art? Is it property at all? Jordanna Bailkin's The Culture of Property offers a new historical response to these questions, examining ownership disputes over art objects and artifacts during the crisis of liberalism in the United Kingdom. From the 1870s to the 1920s, Britons fought over prized objects from ancient gold ornaments dug up in an Irish field to a portrait of the Duchess of Milan at the National Gallery in London. They fought to keep these objects in Britain, to repatriate them to their points of origin, and even to destroy them altogether. Bailkin explores these disputes in order to investigate the vexed status of property within modern British politics as well as the often surprising origins of ongoing institutional practices. Bailkin's detailed account of these struggles illuminates the relationship between property and citizenship, which has constituted the heart of liberal politics as well as its greatest weakness. Drawing on court transcripts, gallery archives, exhibition reviews, private correspondence—and a striking series of cartoons and photographs—The Culture of Property traverses the history of gender, material culture, urban life, colonialism, Irish and Scottish nationalism, and British citizenship. This fascinating book challenges recent scholarship in museum studies in light of ongoing culture wars. It should be required reading for cultural policy makers, museum professionals, and anyone interested in the history of art and Britain.